Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Sudan and from Columbus.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Tokyo.
I'm losing my edge to the art-school Toronto kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Alton Ellis to the dance kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Johnny Clarke. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Kings Of Tomorrow,
Sister Nancy,
Dave Gahan,
Quantec,
Avey Tare,
Lungfish,
Big Daddy Kane,
Cecil Taylor,
The Blackbyrds,
The West Coast Pop Art Experimental Band,
The Searchers,
Marc Almond,
Country Joe & The Fish,
New Order,
Grandmaster Flash and the Furious Five,
Pierre Henry,
The Human League,
CMW,
Hoover,
Unrelated Segments,
Rosa Yemen,
The Seeds,
Circle Jerks,
Beasts of Bourbon,
Gil Scott Heron,
The Dead C,
Gang Green,
Dead Boys,
Bang on a Can All-Stars,
R.M.O.,
Piero Umiliani,
Das Ding,
Peter and Kerry,
Joe Smooth,
Spoonie Gee,
Kayak,
Rotary Connection,
Orchestral Manoeuvres in the Dark,
Infiniti,
Max Romeo,
Alphaville,
Maleditus Sound,
Avey Tare's Slasher Flicks,
Negative Approach,
Groovy Waters,
Roy Ayers Ubiquity,
Kango’s Stein Massive,
Make Up,
Bobby Sherman,
Tommy Roe,
Eric Dolphy,
Nas,
The Buckinghams,
Joensuu 1685,
Bob Dylan,
Magazine,
Japan,
Traffic Nightmare,
The Pretty Things,
Tomorrow,
Art Ensemble Of Chicago,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.